11 Arvo Pärt
World Première of Adam's Lament in Istanbul's Hagia Irene
15 Jay Schwartz
The Night of Jay Schwartz in Salzburg
33 Alban Berg
Wozzeck and Lulu at the Vienna and Salzburg Festivals
37 Leoš Janáček
Complete Critical Edition of The Cunning Little Vixen
Wolfgang Rihm World Première of Dionysos at the Salzburg Festval
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newsletter thema 03/10 • summer 2010
Content
= World Première
News New UE Website — 4 Mahler Blog — 5 Composers Rihm — 7 Staud — 9 Pärt — 11 Luke Bedford — 12 Cerha — 13 Haas — 13 Halffter — 14 Sotelo — 14 Schwartz — 15 Baltakas — 16 Lentz — 16 Borisova-Ollas — 16 Boulez — 17 Sawer — 18 Birtwistle — 18 Berio — 19 Stockhausen — 20 Bennett — 20 Weill — 21 Kagel — 21 Krenek — 22 Martin — 22 Gurlitt — 23 Opera suites — 24 Boris Blacher — 26 Ulvi Cemâl Erkin — 26 Lars-Erik Larsson — 26 Feldman — 27 Bartók — 28 Kodály — 28 Martin� — 29 Szymanowski — 29 Schmidt — 30 Rott — 30
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content 03/2010
Schreker — 31 Webern — 31 Zemlinsky — 32 Berg — 33 Schönberg — 34 Mahler — 35 Janá�ek — 36 -39
anniversaries — 40 - 41 world prmières — 42 New releases — 44 - 45 New on CD & DVD — 46 - 47 Acknowledgements — 48
Dear Readers, Have opera suites lost their status as independent concert pieces? Unlike overtures, they do not attempt to summarise the main themes. Suites allow themselves to be expansive. Orchestral suites also prepare listeners, awaken their curiosity and attune their ears to complex, orchestral contexts, but without having to compete with the voice. Aside from the real historical necessity of trying out new operas in concert halls, today’s composers still put instrumental ideas from their operas to the test in concert now and then. UE has extended its series of opera suites considerably over the years. Like precious jewels, they are just waiting to be discovered. An overview – from Alban Berg to Kurt Weill – can be found on page 24 and 25. The Editorial Team
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universal edition
New Website Have you seen our new website? Thank you for the many compliments from those who have. We hope you too find the new site faster and easier to use. Let us know if you have any comments or suggestions. The new site is organised in five main sections: News; Composers and Works; Sheet Music and more; Performances and Calendar; and Film | TV | Advertising. At the top of every page is our new search box. Just type a few letters and see which results are suggested ( just like Google). Our composers’ pages have been completely redesigned. Now you can see all details about biography, works, available scores, performances, audio excerpts and news on the same page. www.universaledition.com/haas is a good example. At the bottom of each composer and each work page is a new feature, showing which other works ensembles have performed, in addition to the ones shown – it can come up with some interesting results. We have also been busy behind the scenes, adding extra information about our music, and we now have over 500 audio excerpts online (you can find them on our composer and work pages). The new audio player on each composer’s 4
news
page lets you sit back and listen to a selection of works. Another new feature is the expanded Calendar section, which now includes a list of forthcoming radio broadcasts of UE works, and a much more powerful search function. Have a look at www.universaledition.com
universal edition
Mahler Blog The activities celebrating the anniversaries of Gustav Mahler’s birth (150th this year) and death (100th next year) are rapidly gaining momentum, with performances across the world. Highlights include the complete cycle of orchestral works performed by the Concertgebouworkest in Amsterdam, and the BBC Philharmonic Orchestra’s Symphony cycle in Manchester, adding world premières of works by composers including Friedrich Cerha and Luke Bedford. In Vienna, an extensive Mahler exhibition has just opened at the Theatre Museum, under the title of the sardonic Mahler quote “Alas I remain Viennese through and through”. Visit our Mahler Blog at www.universaledition.com/mahler for further news and video interviews with 15 of the world’s greatest conductors,now including Antonio Pappano and Lorin Maazel.. Antonio Pappano: “All Mahler symphonies are somehow about struggle. So is the sonata-form, but I think Mahler made it more personal. The struggle and the resolution of the struggle – and how it ends; this makes a symphonic argument. I don’t think there is any difference to Mozart, Haydn or Beethoven. Mahler found a more modern way of showing whats really going on underneath the skin.” Lorin Maazel: “Mahler, and this was my problem as a young musician, came out of nowhere and was saying things that nobody had said before. It was shocking. (...) Many conductors go on ego-trips when they conduct and they eventually think that they wrote the music. Mahler was a marvellous conductor and he knew exactly what he was doing."
Antonio Pappano
Lorin Maazel 5
news
SALZBURGER FESTSPIELE 2010
Kontinent Rihm Zehnteiliger Konzertzyklus Urauff端hrung von Wolfgang Rihms Dionysos
Foto: Barbara Klemm
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Tel: +43-662-8045-500 www.salzburgfestival.at
Rihm
God of intoxication
It is some time since the Salzburg Festival last opened with the première of a new opera. Wolfgang Rihm was inspired to compose Dionysos by Friedrich Nietszche’s late poem cycle Dionysos-Dithyramben, although the philosopher’s take on the god of intoxication is only one aspect of the work. Ingo Metzmacher presents the work on 27 Jul (further performances: 30 Jul, 5 and 8 Aug, director Pierre Audi; stage design, Jonathan Meese). The première is complemented by a journey across the “continent of Rihm”, a series of concerts featuring 15 works by Rihm programmed by concert director Markus Hinterhäuser between 29 Jul and 22 Aug. The revival of the Poème dansé Tutuguri at the Felsenreitschule on the 29 Jul has already attracted considerable attention. Other highlights: Quid est Deus (2 Aug, conducted by Sylvain Cambreling), ET LUX (7 Aug, the Hilliard Ensemble, Arditti Quartet), Gesungene Zeit (8 and 10 Aug, conductor Riccardo Chailly, Anne-Sophie Mutter, violin), Séraphin-Sphäre (9 Aug, Klangforum Wien), Jagden und Formen (10 and 11 Aug, choreographed by Sasha Waltz with Ensemble Modern), Musik für 3 Streicher
(13 Aug, ensemble recherche) and Ernster Gesang (21 and 22 Aug, conducted by Christoph Eschenbach). There is also a series of events entitled “the exegesis of Rihm”, providing further information and discussion. www.bit.ly/rihmsalzburg The monodrama Proserpina (inspired by Goethe) has its American première at the Spoleto festival (30 May, 4 and 9 Jun, Memminger Auditorium, Charleston, conducted by John Kennedy, with soprano Heather Buck). Deploration for flute, cello and percussion is performed in Baden-Baden on 12 and 13 Jun.
Wolfgang Rihm
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rihm
Juli 28 – August 8 St.Gallen/Gesäuse, Austria www.arcanafestival.at
Cerha Cho Feldman Furrer Gander Grisey Jarrell Ligeti Neuwirth Parra Rihm Ronchetti Saariaho Scelsi Sciarrino Sotelo Staud Varèse Xenakis Zender uvm.
ensemble recherche Klangforum Wien KNM Berlin Neue Vocalsolisten Schlagquartett Köln Arnold Schoenberg Chor Trio Zebra Dierksen Flury Formenti Hodges Kovacic Molinari Schulkowsky Weiss
REGIONALE10 | WWW.REGIONALE10.AT
staud
Big sound
Johannes Maria Staud
Tondo, Preludio für Orchester (2009–2010) by Johannes Maria Staud was commissioned by the Sächsische Staatskapelle Dresden and will receive its world première at the Semperoper under Paavo Järvi on 22 Aug (other performances on 23–24 Aug in Dresden and 25 Aug in Görlitz). It is the first of three works that Staud is to compose for the Staatskapelle Dresden during his tenure as “Capell-Compositeur” for the 2010–2011 season. Lasting some 11 minutes, the 4-part piece is grouped around the central sound of the 4 horns and is characterised by a big and compact, yet highly intricate sound. Composed with a circular structure, the work can finish after one run-through or can be repeated da capo, as long as required or as external conditions permit.
On Comparative Meteorology is returning to Cleveland. The Cleveland Orchestra, which premièred the work under Franz Welser-Möst, will perform it again on 5 June under Matthias Pintscher. The Bregenz Festival will be presenting an overview of Staud’s chamber music works, with a portrait concert showcasing Sydenham Music, Lagrein, Für Bálint András Varga and Configurations/ Reflet on 11 Aug, performed by the Wiener Concert-Verein. www.bit.ly/staudbregenz Porto will play host to the Portuguese première of Berenice. Suite 1 (25 May, Remix Ensemble). The new Arcana festival in St. Gallen/A, launched by Peter Oswald, will also be featuring Staud, with Portugal for percussion on 31 July (soloist: Robyn Schulkowsky) and Black Moon on 5 Aug (soloist: Ernesto Molinari). www.arcanafestival.at
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staud
16 JULY – 11 SEPTEMBER 2010 • ROYAL ALBERT HALL
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Pärt
Pärt on the Bosporus Following Arvo Pärt’s lifetime achievement prize at the 38th International Istanbul Music Festival, a concert paying tribute to the composer features the première of a new work: Adam’s Lament for choir and orchestra. The work emerged from a co-commission by two European Capitals of Culture – Istanbul 2010 and Tallinn 2011. Pärt based his new work on the writings of Siluan of Athos, in which the monk laments the pain of Adam after the loss of paradise. The text is sung in Russian. Also on the programme are Te Deum, Orient & Occident, Most Holy Mother of God, Alleluia Tropus and Da Pacem Domine. The Borusan Philharmonic Orchestra, the Estonian Philharmonic Chamber Choir
and the Vox Clamantis are conducted by Tõnu Kaljuste. The International Istanbul Music Festival also features the Turkish première of the Symphony No. 4 on 11 Jun. Cem Manur, who gave the Finnish première, conducts the expanded Akbank Chamber Orchestra. www. bit.ly/paertistanbul The Symphony No. 4 can also be heard at the BBC Proms in London, where it has its British première under Esa-Pekka Salonen on 22 Aug. The live recording of the première of the symphony – with the Los Angeles Philharmonic, also under Esa-Pekka Salonen – is released on CD in August (ECM New Series).
Hagia Irene Istanbul 11
pärt
Bedford
Debut at the BBC Proms This summer, Luke Bedford makes his debut at the BBC Proms in London. Oliver Knussen conducts Outblaze the Sky with the BBC Symphony Orchestra (28 July, Royal Albert Hall). As the composer writes, he “imagined the piece to have a warmth and a certain haziness, and the result is that virtually every new pitch is scored with glissandi, harmonics, flutter-tonguing, tremolandi and molto vibrato. But the music is very slow throughout, and only properly ‘blazes’ in the final section.” On 6 Aug, also at the BBC Proms, George Benjamin conducts the Birmingham Contemporary Music Group in a performance of Or voit tout en aventure, with Claire Booth singing the soprano solo. www.bit.ly/bedfordproms1 www.bit.ly/bedfordproms2
Luke Bedford “Piano Book – a project for the presentation of contemporary piano music”. Composers including Luke Bedford have been invited to write two works – one for solo piano and one for four hands, with a hard part (played by a teacher) and an easy part (played by a pupil). Bedford’s results, Give Him His Hat, can be heard on 12 July at the Folkwang Hochschule in Essen-Werden. Aimard and Stefanovich are joined by students from the Cologne College of Music. www.bit.ly/klavierruhr
Bedford’s new string quartet, Of the Air, will be premièred at the Wigmore Hall, where Bedford is the current composer in residence, by the Belcea Quartet (25 June). www.bit.ly/belcea As part of the Klavier Festival Ruhr 2010, Pierre-Laurent Aimard and Tamara Stefanovich are presenting 12
luke bedford
Cerha
For virtuosos When Friedrich Cerha’s Concerto for percussion and orchestra was performed in Salzburg last autumn, there was almost unanimous agreement that Cerha had written a virtuosic concerto full of substance that would soon take its place in the repertoire. Now the piece is to receive its German première at the SchleswigHolstein Music Festival. Eivind Gullberg Jensen conducts the NDR Radiophilharmonie. The soloist is Martin Grubinger (7 Aug, Flensburg). 9 Bagatellen for string trio will be premièred at the styriarte Festival (Zebra Trio, 27 June, Schloss Eggenberg/A). Bruchstück, geträumt, a piece commissioned by the Wittener Tage für neue Kammermusik, can now be heard in Vienna (18 June, Klangforum). The new Arcana Festival is also paying tribute to Cerha with Verzeichnis for 16 vocalists or 16-voice mixed choir. It will be sung by the Arnold Schoenberg Choir on 31 July and 2 Aug at the Monastery of Admont/A, while 9 Bagatelles will be played on 7 Aug at Burg Gallenstein/A.
anniversary of Klangforum Wien, and takes the term “solo ensemble” literally. Each of the ten individual parts is also a solo piece, which means that the ensemble piece is woven together out of ten fully independent works which can each be performed on their own. The Tiroler Ensemble für Neue Musik performs the 1996 version of the piece on 29 June in Innsbruck. Smaller subensembles are also possible; these versions for one to four instruments have been published under the title „… aus freier Lust … verbunden“ (with the addition of the relevant instrumentation in each case). Monodie is performed in Graz by Klangforum Wien under Emilio Pomàrico on 30 June.
haas
Individual parts „... Einklang freier Wesen ...“ for 10 instruments was written for the 10th
Georg Friedrich Haas 13
cerha / haas
Halffter
Variations Cristóbal Halffters Planto por las victimas de la violencia for chamber ensemble and electronics, which premièred in Donaueschingen in 1971, was immediately praised for its “haunting new tonality”, which lifts the work above the “many standard effects”. José Ramón Encinar is dedicating himself to the long-forgotten “electronic” Halffter, performing his Variaciones sobre la resonancia de un grito for 11 instruments, tape and live electronics with the Orquesta de la Comunidad de Madrid (18–20 June). Following the world première in Donaueschingen in 1977, the music was described as being of “absolutely extraordinary beauty”. These are reasons enough to allow justice to be done to this music, which transcends its time.
– combine with those of the horizon, the edge or the intersection of vibrating fields of colour that come together to create a wall of sound (Muro Sonoro)”. The Kammerensemble Neue Musik performs the opiece under Beat Furrer (6 Aug, St Gallen/A). Como llora el agua ..., with the phenomenal flamenco guitarist Juan Manuel Cañizares, demonstrates an “electrifying presence” and a “perfectly composed piece of flamenco with progressive undertones”, the work of an “immensely musical composer” – according to the Neue Zeitschrift für Musik in May 2008 (7 Aug St Gallen/A).
sotelo
Weeping water Klang-Muro... I for flute, double bass and ensemble is Mauricio Sotelo’s poetic exploration of the Moorish roots of Spanish music. “The melodic lines of the solo instruments – ‘voz de dolor, i canto de gemido’ (F. De Herrera, Canto I)
Mauricio Sotelo
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halffter / sotelo
Jay Schwartz schwartz
A new new work In a last minute change to the planned concert, the RSO Frankfurt replaced Jay Schwartz’ Music for Eight Double Basses with his new work for string orchestra, Music for Orchestra III. The work, scored for strings only, employs massive funnel effects, with giant chords sliding unrelentingly downwards, before intertwining in a thicket of polyphony to form new constellations. Lucas Vis stood in for Matthias Pintscher and conducted the hr-sinfonieorchester on 23 April. “His style is unmistakable – an organic tremor and weaving of colourful sounds, the expression of background forces, a long breath.” This is how the Landestheater in Salzburg introduces the music of Jay Schwartz, which it presents this
summer (12 Jun). Alongside the music of Ligeti and Sibelius, the world première of Schwartz’ Music for Orchestra II will be given. Leo Hussain conducts the Mozarteum Orchestra Salzburg in the Kollegienkirche. Music for Five String Instruments II will also be performed. www.bit.ly/schwartzsalzburg Of Schwartz’ last major piece for orchestra, Music for Voices and Orchestra, the Stuttgarter Zeitung wrote, “it is a clearly conceived and effectively composed work with mesmerising moments especially where the vocal elements merge seemingly unnoticed with the instrumental activity.” For more information on the composer and his works, with audio excerpts and performance dates, see www.universaledition.com/ schwartz
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schwartz
Baltakas
Elektronic invention In Vykintas Baltakas’ recent work for Ensemble Modern – Lift to Dubai – the composer uses electronics to create an other-worldly sound environment, surrounding the listener in a plenitude of real and electronically created sounds. You hear voices talking, mixed with the automatic announcements by a lift, all set against a murky, jumbled background of … is it Dubai or isn’t it? Baltakas’ latest work with electronics was premièred in Kassel by the Kantorei Kassel conducted by Eckhard Manz on 29 May. It is based on the Missa sexti toni by Josquin des Près. lentz
Musica universalis
my having read about Pythagoras’ poetic concept of a musica universalis.” This is how Georges Lentz describes his compositional work of the past years. Included in Mysterium are the orchestral works Monh (with solo viola), Ngangkar and Guyuhmgan (recently performed in Graz). For details, see www.universaledition.com/lentz borisova-ollas
Egyptian dances Victoria Borisova-Ollas’ latest work – a concerto for clarinet and orchestra – is the composer’s own way of reflecting on the life of the ancient Egyptians. We know so much about their life and their society, but we have no idea of the music they created, sang, played and heard. Golden Dances of Pharaohs is BorisovaOllas’ modern day answer. It was premièred in Stockholm by Martin Fröst and the Royal Stockholm Philharmonic Orchestra conducted by Sakari Oramo (6 May). See www. bit.ly/borisova for details.
“Caeli enarrant ... is a cycle of works which I have been working on since 1989 and which reflects my fascination for astronomy as well as my spiritual thoughts and doubts. Mysterium, the last and largest part of the cycle, is influenced by 16
baltakas / lentz / borisova-ollas
boulez
Modernist classic To mark Pierre Boulez' 85th birthday the Viennese Philharmonic performed Notation I–IV and VII under the baton of the composer, with a perfect musicality of the kind one might expect to hear in a waltz by Strauss. They perform the Notations again under Daniel Barenboim at the operning of the Salzburg Festival (26 and 27 Jul). Dérive translates roughly as “derivative”; the piece is derived from the two compositions Répons (1981) and Messagesquisse (1976/77). The
“derivative” is also a sequence of variations “on the name Sacher”. Six chords build a circular rotation, which mimic the structure of the piece, but also soften it. Ensemble recherche performs Dérive 1 on 28 Aug in San Sebastian. They also perform ...explosante fixe... for flute with live electronics, two flutes and ensemble. Dérive 2, dedicated to Elliott Carter on his 80th birthday, on the other hand, is a “research project into periodicity”. Boulez himself conducts Ensemble InterContemporain at the Aldeburgh Festival (26 Jun). The ensemble, founded by Boulez, takes Dérive 1 with it on the road (7 Aug, Briançon). There they will also perform the classic Le Marteau sans Maître (7 Aug). Ensemble Modern performs Dérive 1 in Frankfurt (15 and 16 Jun). Mémoriale (… explosante-fixe … Originel) for flute and 8 instruments is performed again in Vienna after its recent performance by the Viennese Philharmonic at a ceremony in honour of Boulez (7 Jun, Ensemble Kontrapunkte).
Pierre Boulez
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boulez
Harrison Birtwistle Sawer
Defying categorisation “Sawer calls it a ballet on the printed score, but in reality what he and Jones have devised defies accurate categorisation, vividly unfolding the sinister story through music, mime and movement across its 70-minute span.” This is how Andrew Clements described the world première of David Sawer’s Rumpelstiltskin in The Guardian. The production, produced by the BCMG with a stage design by Stewart Laing and directed by Richard Jones, is built to tour and is continues to do so, with a further two performances at the Spitalfields Festival on 11 June. Martyn Brabbins conducts the BCMG at Shoreditch Church in London. See www.bit.ly/rumpel for details. As Rupert Christiansen wrote in the Telegraph, “Sawer’s score is en-
trancing. Exquisitely scored for 13 players, it is dark, lean and jagged, embracing both eerie menace and seductive charm.” birtwistle
Director’s cut Cortege is Harrison Birtwistle's completely new reworking of the earlier work Ritual Fragment. The composer wanted to revise and correct the original, but soon discovered that his intentions went much further than a mere revision. What resulted is what you might call the final director’s cut of the piece. The next performance of the work, which is for 14 musicians, is in Innsbruck, where the Tiroler Ensemble für Neue Musik perfoms on 29 June. The musikFabrik presents the work in September in Cologne.
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sawer / birtwistle
Berio
Timeless masterpieces 24 October 2010 would have been Luciano Berio’s 85th birthday. Many of his works already became timeless masterpieces of the 20th century during his lifetime. His Sinfonia, Folk Songs, Rendering, Sequenze and the Chemins cycle, his transcriptions of Weill, Verdi, Boccherini and de Falla are mainstays of international concert programmes. However, Berio’s oeuvre is highly extensive and multifaceted, and therefore still offers new discoveries now and then. The four brilliant orchestral miniatures, Fanfara, Entrata, Festum and Encore, remained undiscovered until, in 2007, Pierre Boulez brought them together as one group, entitled Quatre dédicaces, and performed them together. Now that this treasure has been
“unearthed”, it is being discovered by many conductors. Amsterdam’s Concertgebouworkest will be performing Quatre dédicaces under conductor Mariss Jansons in Amsterdam on 18–19 June. The 63rd Aldeburgh Festival is to open on 11 June with a new staging of Berio’s Recital for Cathy (London Sinfonietta, c. Franck Ollu, Susan Bickley, ms). Recital for Cathy is also one of the most important rediscoveries of recent years. Berio wrote this highly entertaining, 35-minute piece of musical theatre for his then-wife, Cathy Berberian, including numerous quotations from musical history in a tragiccomic style. A list of the quotations and references can be found on Wikipedia. www.bit.ly/recitalforcathy www.bit.ly/recitalaldeburgh
Luciano Berio 19
berio
stockhausen
bennett
Individual tones Enchanting Karlheinz Stockhausen’s 1952/1953 piece Kontra-Punkte for 10 instruments is one of the key works of serial composition. “One of the basic ideas behind the piece is that all 10 instruments are initially introduced on an equal footing – with ‘punctiform’ individual tones. But during the piece individual instruments drop out one by one, while the remaining instrumental parts become progressively more continuous with one another, culminating in an enormously challenging piano solo” (Richard Toop). Pierre Boulez studied his great companion’s work in 1990 and presents it anew with Ensemble InterContemporain at the Vienna Festival (16 Jun) and the Holland Festival (17 Jun). www.bit.ly/stockhausen
melodies The Buxton Festival will feature performances of Richard Rodney Bennett’s moving 45-minute children’s opera, All the King’s Men, on 9, 12–13 July – a piece commissioned by the Coventry Schools’ Music Association. The libretto was written by Beverley Cross, based on the popular nursery rhyme Humpty Dumpty. The rhyme tells of a cannon that was mounted on the top of a church tower in Gloucester in 1648, during the English Civil War, and that “had a great fall” when the tower was hit by the besieging Roundheads. Bennett’s opera delights listeners with its enchanting melodies, exhilarating orchestration and subtle rendering of the characters. Director: Michael Barry. www.bit.ly/allthekings
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stockhausen / bennett
Kagel
Propping up the sky
Kurt Weill Weill
Berlin in Light As part of the Berlin Fesetival of September 1928, the gas and electricity companies of the city staged a huge festival of light under the title “Berlin in Light”. This advertisement for modern technology, and for modernity itself, was designed to demonstrate Berlin’s economic and cultural vitality, only ten years after the defeat and humiliations of 1918. Kurt Weill wrote Berlin im Licht for voice and jazz instruments for the occasion. On 22 Jun the song can be heard performed by HK Gruber at the Happy New Ears festival in Frankfurt. Also on the programme: Ölmusik, Die Moritat von Mackie Messer, Kleine Dreigroschenmusik and Klopslied. www.bit.ly/weillmodern
Mauricio Kagel's 15-minute composition with stage sets, Die Himmelsmechanik (subtitle: Presentation of various natural events), was considered one of the strictest attempts at experimental instrumental theatre in 1965. Accompanied by barely concrete sounds, a playful, visionary setting is created, with the sun, moon and stars moving across the sky, the sound of the wind, the patter of the rain and the mist rising. Kagel depicts a broken natural world out of a test tube, “a propped-up sky”, as he put it. “These days, music is only ever presented as a cosmic play of stars under a steady flood of sunlight, in the frame of a puppet theatre, in a naively fantastic manner,” wrote Karlheinz Roschitz, following the world première of the piece at the Venice Biennale in 1969. The work will be performed by Das Neue Ensemble in a semi-staged concert at Musik 21 Niedersachsen in Hanover on 20–21 June.
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weill / kagel
krenek
Journey through Austria “I'm setting out to discover my homeland” – so begins Ernst Krenek’s song cycle from 1929. In the twenty songs of the Reisebuch aus den österreichischen Alpen he describes with affection and irony his impressions of the individual stations of his trip through Austria. As part of the styriarte Festival, taking place this year under the title “You Are The Homeland”, the orchestral version of eight of the songs will be performed by the Recreation orchestra under the direction of Andrés Orozco-Estrada (15 Jul, Helmut-List-Halle, Graz/A). The Stübing Open Air Museum also explores Krenek’s idea and invites the audience to follow the same path through Austrian history two days later. www.bit.ly/krenekreisen
Martin
New ballad In mid-2008, Maria Martin found a previously unnoticed handwritten manuscript by Frank Martin, entitled Deuxième Ballade for flute and piano or flute, string orchestra, piano and percussion. This was the composer’s own arrangement of the Ballade for saxophone and string orchestra, piano and percussion, which he had composed for Sigurd Rascher in 1938. Both versions of the Deuxième Ballade for flute have been produced by UE and are now available: flute and piano (for sale, UE 34699); flute, string orchestra, piano and percussion (for hire). The reduced version premièred in The Hague on 31 Aug 2009 with Thies Roorda (flute) and Nata Tsvereli (piano). See also New on CD & DVD on page 46.
Freilichtmuseum Stübing/A 22
krenek / martin
Manfred Gurlittt Nana Erfurt gurlitt
Novel ruthless harmony When Manfred Gurlitt’s opera Nana, with a libretto by Max Brod based on Émile Zola’s original novel, was eventually given its world première in 1958, the librettist took the opportunity to write to the composer. “My participation in your, in our opera ‘Nana’ has lost none of its vitality or joyous youth in the twenty years since we last met. What a stroke of luck it was when this text flashed before our eyes, the novel by Zola, whose main tenor showed itself so clearly to our souls as we set to work. A stroke of luck; as it allowed your tempestuous, inventive musical invention – flying in the face of the prevailing conventions – to amalgamate seemingly effortlessly with the melodic form of the Offenbach milieu and by doing so to create a new entity. … The syn-
thesis of accessible melodies with a novel ruthless harmony and bold rhythms is something completely new that you bring to the opera stage. And I believe in the victory of the new, if it is moved by a new spirit.” After a long absence from the stage, the Theater Erfurt has now ‘rediscovered’ this Gurlitt opera again (others include Wozzeck and Soldaten) and presented it in a new production by Michael Schulz this April, with Ilia Papandreou in the lead role. Enrico Calesso conducts the Philharmonic Orchestra of the Theater Erfurt. Further performances take place on 6 and 12 June. See www.bit.ly/nanaerfurt for more on this production, and www.bit. ly/gurlitt2 for more on Manfred Gurlitt and his works
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gurlitt
Opera suites Alban Berg (1885–1935) 3 Bruchstücke from Wozzeck for soprano, orchestra and children's choir ad lib. Lulu-Suite symphonic pieces from the opera Lulu for coloratura soprano ad lib. and orchestra
1923 20’ 1934 35’
gottfried von einem (1918–1996) Dantons Tod Suite for orchestra (1946)
1944 17’
cristóbal halffter (*1930) La del alba sería ... fragments from the opera Don Quijote for soloists, mixed choir and orchestra (1997)
1997/1999 35–40’
LEO� JANá�EK (1854–1928) Suite from the opera The Cunning Little Vixen for orchestra by Charles Mackerras (2006) Suite from the opera The Excursions of Mr Broucek for orchestra by Jaroslav Smolka (1997) Suite from the opera From the House of the Dead for orchestra by Harold Byrns Jen�fa-Rhapsodie for orchestra by Max Schönherr (1940) Suite from the opera Katja Kabanowa for orchestra by Jaroslav Smolka (2007) The Makropulos Case symphonic synthesis for orchestra by José Serebrier (1995) Suite from the opera �árka for orchestra by Jaromir Dlouhýýy (2008)
1922/1923 22’ 1920 23’ 1927/1928 25’ 1894/1903 25’ 1921 23’ 1925 31’ 1888 17’
zoltán kodály (1882–1967) Háry János-Suite for large orchestra Háry János-Suite for wind orchestra by Glenn Cliff Bainum (1996)
1927 23’ 1927 23’
ernst krenek (1900–1991) Suite Triumph der Einsamkeit for soprano and small orchestra
1926 17’
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opera suites
Opera suites cont. rolf liebermann (1910–1999) Opernsuite 6 pieces from Leonore 40/45 for orchestra and soprano aria ad. lib.
1952 16’
frank martin (1890–1974) Suite from the opera Der Sturm for baritone and orchestra (1955)
1952 25’
darius milhaud (1892–1974) Suite from the opera Maximilian for orchestra
1930 20’
david sawer (*1961) From Morning to Midnight symphonic suite for orchestra
2005 30’
max von schillings (1868–1933) Suite from the opera Mona Lisa for orchestra
1915 18’
dmitri schostakowitsch (1906–1975) Suite from the opera Die Nase for tenor, baritone and orchestra
1928 22’
JohANnes Maria Staud (*1974) Berenice. Suite 1 for ensemble and tape (2004–2006) Berenice. Suite 2 for ensemble (2004–2006)
2003 20’ 2003 10’
Kurt Weill (1900–1950) Suite from the opera Rise and Fall of the City of Mahagonny for orchestra by Wilhelm Brückner-Rüggeberg (1959) Suite from the winter's tale The Silver Lake for orchestra by Karel Salomon (1952) Suite from The Threepenny Opera for orchestra by Max Schönherr (1956)
1929 25’ 1933 23’ 1928 16’
25
opera suites
Boris Blacher (1903–1975)
Economy of material In 1943, at UE’s request, Boris Blacher composed Romeo and Juliet, a chamber opera in 3 parts, freely adapted from Shakespeare. Blacher took excerpts of text from the play, which are essential to the storyline – producing a concentrated version of Romeo and Juliet, which, through the music, aimed more at allegory than pity. Blacher’s music is characterised by an economy of material, transparency and a draughtsman’s clarity. On 19 June, the Sinfonietta Dresden will be performing the work in concert under Ekkehard Klemm in Dresden. Ulvi Cemâl Erkin (1906–1972)
Turkish rhythms The Turkish composer Ulvi Cemâl Erkin was one of The Turkish Five, the first professional composers to want to reform Turkish music in the early 20th century in line with western role models. The suite for orchestra, Köçekce, a dance rhapsody composed in 1943, is one of his best-known works. It refers to the music accompanying a traditional men’s dance and reflects
the characteristic harmonies, melodies and rhythms of Turkish music. The Dresdner Philharmonie will be performing it under Kristjan Järvi on 19–20 June. Lars-Erik Larsson (1908–1986)
Elegant and sensitive The Kammerorchester Flawil will be tackling two works for string orchestra by the Swedish composer Lars Erik-Larsson under Paul K. Haug in Flawil/CH on 6 June: Sinfonietta (1932; 20 min) and Kleine Serenade (1934; 10 min). In 1936, the German newspaper, Essener Volkszeitung, wrote on Sinfonietta: “The greatest merit of this work is the wonderful clarity and the clear arrangement of its structure. Bright and colourful in style, highly refreshing and yet totally unproblematic, it captivates listeners from the first to the last bar.” The Dortmunder Zeitung newspaper wrote the following on Kleine Serenade in 1937: “The attractive, musically elegant and sensitive work uses simple means to make profound statements.”
26
blacher / erkin / larsson
feldman
Island of psychological abyss The suggestive power of the music of Morton Feldman is increasingly attracting the interest not only of the programmers of unusual concerts, but also of artists of other genres. Martin Scorsese scored his recent success Shutter Island – a disturbingly intense film about an island of psychological abysses – with Feldman’s Rothko Chapel, along with works by Mahler, Ligeti and Penderecki. This is virtuosic cinema of the highest level. The soundtrack was hailed by the press as the true star of the film. The Arnold Schoenberg Choir under Erwin Ortner can be heard performing Rothko Chapel on 2 Aug at the newly founded Arcana Festival. The Arcana Festival/A is described as an annual twelve-day stream of energy between composers, performers, academics and audience. www.arcanafestival.at
position. The Süddeutsche Zeitung described the work at its première as “a balancing act on the thinnest possible line between soloist and orchestra”. Piano and Orchestra is performed at the BBC Proms in London on 20 Aug by the BBC Scottish Symphony Orchestra under Ilan Volkov. The soloist is John Tilbury.
Piano and Orchestra from 1975 is one of a series of pieces by Feldman whose title merely describes its instrumentation. Feldman hoped thus to direct the audience’s attention to the colour of the work, rather than to the process of com- 27
feldman
bartók
Multi-facetted contrast The second set in our new study score series includes Béla Bartók’s Cantata profana (UE 34300), alongside works by Berg, Boulez, Messiaen, Weill and Pärt. This large-scale work for tenor, baritone, double mixed choir and orchestra tells the story of a father and his nine sons, who go out to hunt a stag but are themselves transformed into deer in the process. The Cantata, subtitled “The Magical Deer”, was written in 1930 and inspired by Romanian Christmas stories, using pagan and mythological motifs to combine natural, didactic and symbolic elements in the story. The strictly rhythmic narration of the choir and the sharp, melismatic statements of the soloists form a multi-facetted contrast.
The Ludwigsburger Schlossfestspiele perform the work on 3 Jun. www.bit.ly/bartokschloss Kodály
Fiery gypsy sounds Folk music has long been a source of inspiration for many composers, including Zoltán Kodály. In his Dances of Galánta he plays with the simultaneously tempestuous and melancholic strains of the gypsy bands of the village of Galánta, where he spent seven years of his childhood. This summer, the Dances are performed by the Graz Philharmonic Orchestra (27 Jun), the Philharmonic Orchestra Heidelberg (27 Jun) and the Niederrheinische Sinfoniker (29/30 Jun, 1/2 Jul).
Forum at Schlosspark Ludwigsburg 28
bartók / kodály
szymanowski
A miraculous Piero della Francesca Leggenda della Croce Arezzo martin�
Mysterious atmosphere In the 1950s, Bohuslav Martinu was deeply impressed by Piero della Francesca’s cycle of frescoes in 8 scenes, depicting the Legend of the True Cross in the choir of San Francesco in Arezzo. In his orchestral work, Les Fresques de Piero della Francesca (1955, 19 min), he wanted to give voice to the majestic, icy silence, as well as the strange, peaceful poetry of the paintings, and to express the colourful, mysterious atmosphere in music. The world première at the Salzburg Festival in 1956 was conducted by Rafael Kubelik. The Orchestre de Paris will perform the work under Paavo Järvi on 2–3 June at the Salle Pleyel in Paris.
world of sound The Wiener Zeitung recently wrote of Karol Szymanowski’s Violin Concerto No. 1 (1916) that it was “... an orchestral work in the delicate no-man’s-land between Romanticism and Modernism; with colour effects as if it had been dipped in rainbows; ... a miraculous world of sound, combining folklore, wit and passion. The violins sing as if full of light”. Ten years ago it was barely performed at all, but now it can be heard around thirty times a year, all over the world. The National Symphony Orchestra under Juraj Valcuha perform the work from 17–19 Jun at the Kennedy Centre in Washington with soloist Jennifer Koh. The Sydney Symphony Orchestra performs the work at the Sydney Opera House on 5–7 Aug. Arabella Steinbacher is the soloist; Simone Young conducts.
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martinu / szymanowski
schmidt
Confession-box honesty On 15 July, Andrés Orozco-Estrada will conduct Symphony No. 4 by Franz Schmidt at the styriarte 2010 Festival with the recreation orchestra from Graz. When the work received its world première in 1934, Paul Stefan wrote in the music journal Anbruch: “As well as the novelty and audacity of form, what really makes this work stand out is the confession-box honesty of its sound language that refuses to bow to convention and that can be understood by everyone – making it anything but banal. It is not easy to perform, even if it barely presents any difficulties to the listener. The long breath of this speech, which never seems longwinded or pompous, is a particular pleasure. Overall, the piece has an elegant, natural decorum.” www.bit.ly/schmidt4 rott
teresting musical discoveries of the 1990s. Rott died at the age of 26 in a psychiatric hospital. For Gustav Mahler, his fellow student, two years above him at the Viennese Conservatory, was the “founder of the new symphony”. The uncompromising quality of Hans Rott’s work is a welcome opportunity for a new perspective on the history of late romantic music. Kiyotaka Teraoka conducts the Pastorale Vorspiel on 5 June in Tokyo.
Franz Schmidt
Mahler's companion The work of composer Hans Rott (1858–1884) is one of the most in30
schmidt / rott
schreker
Skill as a dramatist “Franz Schreker’s musical innovation is less a result of technical developments than an expression of spheres of human emotional life, which have never before been so clearly displayed. He is not a composer of absolutes, but rather someone for whom music, like staging, is a means of presenting general human problems. And yet his work is still art of the highest order, which is the result of his skill as a dramatist. These brightly coloured images and sounds are equally inspired by the stage” (Erwin Stein in Pult und Taktstock, 1928). A new production of Der ferne Klang by Jens-Daniel Herzog premières at the Zurich Opera on 9 May, conducted by Ingo Metzmacher. The production runs to 9 Jun. www.bit.ly/schreker
webern
Joy in a single indrawn breath “Consider,” wrote Arnold Schönberg in the preface to Anton Webern’s three-and-a-half-minute Bagatellen op. 9, composed in 1913, “what moderation is required to express oneself so briefly. Every glance can be extended into a poem, every sigh into a novel. But to express a novel in a single gesture, joy in a single indrawn breath – such concentration can only be present when there is a corresponding absence of self-indulgence.” The Hagen Quartet will be performing the Bagatellen, as well as Webern’s 5 Sätze op. 5, at the Salzburg Festival on 19 Aug. The Vienna Philharmonic will be presenting the reduced version of 6 Stücke op. 6 at the same venue on 29 Aug under Simon Rattle, while the chamber music version of 6 Stücke can also be heard in Salzburg on 5 Aug with Klangforum Wien under Emilio Pomárico.
Ingo Metzmacher 31
schreker / webern
Nationaal Jeugd Orkest zemlinsky
From the lyric to the symphonic Since 2001, the Nationaal Jeugd Orkest has run an international orchestral and ensemble project: the NJO Summer Academy. This project is designed for young musicians, chosen in a tough selection pro- cess. The artistic director responsible for the programme at the Academy is Reinbert de Leeuw. Every year, the NJO presents one symphonic programme and one for chamber orchestra, for modern ensemble and diverse chamber music groups. Alexander Zemlinsky’s Lyric Symphony is on the symphonic programme from 16–23 Aug. The young musicians will work on the piece under the direction of de Leeuw. The vocal soloists are Thomas Oliemans (baritone) and Natalia Zagorinskaya (soprano). The 32
zemlinsky
graduation concerts take place on 21 and 22 Aug in Apeldoorn/NL. Zemlinsky wrote the Lyric Symphony in 1922/3 with the aim of bridging the gap between the lyrical and the symphonic, in a similar way to Gustav Mahler’s Lied von der Erde. Zemlinsky’s work is clearly more inclined towards the symphonic than the Mahler work which inspired it. Rodulf St Hoffmann wrote of the piece in 1924 in the journal Musikblätter des Anbruch: “there are many songs of the earth. This is another. Its spiritual affiliation with Mahler is unmistakable – as is Zemlinsky’s own personality, which gives the piece its unique shape and meaning.” www.bit.ly/zemlinsky
berg
Festivals for Alban Berg
Alban Berg Lulu Vienna Festival 2010
The musical programme of the Vienna Festival is dedicated to the composer Alban Berg, whose 125th birthday and 75th anniversary of death are remembered in 2010. As the Festival writes, “Even today, his musical language and aesthetic are of unbroken timeliness. Alban Berg is a symbolic figure for the music of the 20th century and the beginning of the 21st century.”
The Festival honours Berg with productions of his two operas, Wozzeck and Lulu. Wozzeck opened the festival on 15 May in a new production by Stéphane Braunschweig. Daniel Harding conducted the Mahler Chamber Orchestra at the Theater an der Wien with Angela Denoke in the role of Marie. Peter Stein’s production of Lulu, previously seen in Lyon and Milan and described by the Neue Zürcher Zeitung as “a theatrical story, masterfully told”, comes to Vienna on 11 June. Daniele Gatti also conducts the Mahler Chamber Orchestra. Other Berg celebrations at the Festival include a concert by the Ensemble InterContemporain conducted by Pierre Boulez (16 June); an evening of Lieder by Georg Nigl (30 May); and a concert by the RSO Vienna conducted by its new chief conducter Cornelius Meister. www.bit.ly/bergvienna A highlight of the Salzburg Festival 2010 is a new production by Vera Nemirova of Lulu, including the third act as completed by Friedrich Cerha. Marc Albrecht conducts the Vienna Philharmonic with Patricia Petibon in the lead role. Opening night is 1 August, with five additional performances. www.bit.ly/lulusalzburg
33
berg
schönberg
Record of a compositional style “Read the preface, looked at the poems, am delighted. Brilliant idea, just my kind of thing,” noted Arnold Schönberg in his diary, after hearing of the actress Albertine Zehme’s plans to set Dreimal sieben Gedichte aus Albert Girauds Pierrot lunaire to music. Originally, Zehme had been thinking of a work for a spoken voice with a piano accompaniment, but Schönberg did not want his composer’s imagination to be limited by this. Zehme, who commissioned the piece, agreed, and each of the 21 miniatures was given its own sound colour by the instruments employed: flute, clarinet, piano, violin and cello. The world première in 1912 apparently
Konzerthausorchester Berlin 34
schönberg
required 25 rehearsals. The Vienna Festival will be presenting the work on 7 June with Ensemble Kontrapunkte (sol. Alda Caiello). www.bit.ly/schoenbergvienna Between 1900 and 1911, Schönberg worked on the Gurre-Lieder – with several long breaks in between. The piece for soloists, choir and orchestra is a record of his compositional style: “This work is the key to my whole development. It shows sides of me from which I no longer show myself, or from which I do, but from a different perspective. It explains why everything later had to happen as it did, and it is of enormous importance to my work that the man and his development can be traced from this point.” The Gurre-Lieder can be heard on 12–13 June with the Konzert- hausorchester Berlin under Lothar Zagrosek. www.bit.ly/schoenbergberlin
Gustav Mahler mahler
Viennese born and bred To mark Gustav Mahler’s 150th birthday (7 Jul 2010) and the 100th anniversary of his death (18 May 2011), the Viennese Theatre Museum (www.khm.at) presents an aesthetically challenging exhibition designed by Viennese architects BLAICH + DELUGAN and dedicated to the artist. The exhibition depicts the life and work of a paradigmatic artistic personality, from the education of the precocious 15-year-old to the international success of the conductor to his return home, terminally ill – and shows the way Mahler, shaped by the fertile environment of the Viennese Modern school, went on to influence the world of music long after his death. The Theatre Museum’s Mahler exhibition steers well clear of
psychology and gossip. It sketches a picture of a man obsessed with music, who played an energetic role in the intellectual life of his age, who was often completely caught up in his work, but who could also be swept up in almost childlike excitement over something as mundane as a bicycle. Mahler’s music, once considered painfully dissonant, has long been firmly established in the classical canon. The museum is illustrated by sound installations by Salzburg media artist Claudia Rohrmoser, made up of instantly recognisable melodies from Mahler’s work, like the Waltz from the Symphony No. 9. It is interesting to see Mahler positioned between the “old” – Wagner, Brahms – and the “new” – Schönberg, Berg and Webern. There is also food for thought for many an opera fan today, with statements like “a work that only succeeds musically can never succeed in the theatre”. All concerts featuring Mahler’s work can be found on our Mahler blog: www.universaledition.com/ mahler
35
mahler
janá�ek
Cossack saga It seems incredible but it’s true: the Viennese State Opera recently announced its first ever significant cycle of works by Leo�š Janá�ek, starting in the new season 2010/11. Katja Kabanova and The Makropulos Case have never been staged at the Vienna Opera, although Janá�ek’s Slavic tones are ideally suited to the sound of the Viennese Philharmonic. Other cities have more experience of Janá�ek. Katja Kabanowa, for example, can be seen in Stuttgart (since 9 May, c. Michael Schønwandt, directed by Jossie Wieler/ Serio Morabito), Bonn (since 2 May, c. Will Humburg, directed by Johannes Schaaf) and Prague (from 26 Jun, c. Toma� Netopil, directed by Robert Wilson). The Makropulos Case, on the other hand, has found success in France. Patrice Carier and Moshe Leiser’s
production has been in Nantes since 27 May, conducted by Mark Shanahan. The same production transfers to Le Quai in Angers (13 and 15 Jun). Jen�fa can be seen in Leipzig (29 May, 6 and 13 Jun, c. Andreas Schüller) and Strasbourg (from 11 Jun, c. Friedemann Leyer, directed by Robert Carsen). The Cunning Little Vixen can be seen at the Oper Lübeck until 19 Jun (c. Roman Brogli-Sacher). Taras Bulba (1915/18) was an unmistakable echo of Janá�ek’s passionate support and sympathy for the Russian nation at war. The title of the three-part symphonic rhapsody refers to Gogol’s novelisation of the Ukrainian saga of the Cossack Taras Bulba, who died a hero’s death after a successful fight against the Poles in 1628. Sir Colin Davis conducts the work on 7 Aug in Grafenegg/A (European Union Youth Orchestra).
Leo� Janá�ek The Makropulos Case Madrid 2008 36
janáček
janá�ek
The Cunning Little Vixen The new Critical Edition – edited by Ji�í Zahrádka, with performance suggestions by Sir Charles Mackerras This edition of The Cunning Little Vixen has been made by comparing all the relevant surviving sources and establishing a version of the work that comes nearest to the composer’s intention. The new edition of The Cunning Little Vixen is thus based above all on of the version given at the première in Brno in 1924, including Františ�ek Neumann’s (the conductor) fully elaborated, detailed dynamics. In cases where several minor changes in the Prague version appear to be justified, they were considered in the new edition. The New Critical Edition of the opera includes the full score, the complete orchestra material, as well as the piano vocal score and choir score. The corresponding study score (UE34126) and the piano vocal score (UE33550) are available on sale now. The tale of the free-thinking and crafty vixen Bystrouš�ka goes back to the 1890s. In the beginning were the tiny sketches of the painter and
forester Stanislav Lolek (1873–1936), a distinguished landscape artist. The story of Bystrouš�ka was serialized in Lidové noviny from 7 April to 23 June 1920 and had a huge success. The merry and immediately accessible drawings with a witty and topical text found a readership throughout the entire social spectrum. It is certainly true that Janá�ek began considering composing an opera on this theme since he acquired cuttings of all the episodes in Lidové noviny. And in fact, as soon as Janá�ek completed the work on Katya Kabanova he immediately started on The Cunning Little Vixen. The dates on the autograph show that he began composition as early as January 1922. The author of the literary model Tesnohlídek got the news only indirectly that Janá�ek wanted to compose an opera on his text. The composer himself invited him to come and see him at the time when he was already working on the opera. Meanwhile Janá�ek composed, and started out on his study of nature to a whole series of bird notations – of thrushes, sparrows, finches and blackbirds. He wrote down notations for doves, a little toad, and a frog with the instrumental comment ‘like a xylophone’. He also noticed animals and took down in his notebook his impressions of walks in the game reserve, where the 37
janáček
38
janáček
janá�ek
The Cunning Little Vixen cont. forester even tracked down a vixen’s den with young so that the composer could observe and study them. No wonder that several of Janá�ek’s newspaper reviews in Lidové noviny in the years 1921– 1922 had animal motifs. Meanwhile frantic negotiations broke out over who would publish the composer’s latest work. As in the case of Jen�fa, The Excursions of Mr Brou�ek and Katya Kabanova, interest was shown essentially by two publishers: Hudební matice in Prague and Universal Edition in Vienna. The first to approach the composer was Hudební matice, but, as before, Janá�ek used this offer rather as a tactic to firm up his dealings with Universal Edition. The contract with Universal Edition was signed between March and April 1924.
set design by Eduard Milén (who also designed the cover of the piano vocal score). The composer himself characterized the opera as a forest idyll, one that would awaken the notion of the unity of life – both human and animal.
The celebrated world première of the opera P�íhody liš�ky Bystrou�šky [The Adventures of the Cunning Little Vixen] took place in the Brno theatre Na Hradbách [On the Ramparts] on 6 November 1924. The reception was tremendous and the composer himself was happy with the staging by Ota Zítek and the 39
janáček
2010 50th Anniv. of Death 75th Anniv. of Death 85th Anniversary 85th Birthday 80th Birthday 80th Birthday 100th Anniversary 150th Anniversary 75th Birthday 100th Anniversary 100th Anniversary 150th Anniversary 200th Anniversary 80th Anniversary 125th Anniv. of Death
Hugo Alfvén † 08 May 1960 Alban Berg † 24 December 1935 Luciano Berio * 24 October 1925 Pierre Boulez * 26 March 1925 Paul-Heinz Dittrich * 04 December 1930 Cristóbal Halffter * 24 March 1930 Rolf Liebermann * 14 September 1910 Gustav Mahler * 07 July 1860 Arvo Pärt * 11 September 1935 Mario Peragallo * 25 March 1910 Ennio Porrino * 20 January 1910 Emil Nikolaus von Reznicek * 04 May 1860 Robert Schumann * 08 June 1810 Toru Takemitsu * 08 October 1930 Egon Wellesz * 21 October 1885
2011 75th Birthday 75th Birthday 100th Anniversary 85th Birthday 75th Anniversary 85th Birthday 80th Anniversary 125th Anniversary 75th Birthday 85th Birthday 200th Anniversary 100th Anniv. of Death 75th Birthday 75th Anniv. of Death
Gilbert Amy * 29 August 1936 Sir Richard Rodney Bennett * 29 March 1936 Paul Burkhard * 21 December 1911 Francis Burt * 28 April 1926 Cornelius Cardew * 07 May 1936 Friedrich Cerha * 17 February 1926 Mauricio Kagel * 24 December 1931 Heinrich Kaminski * 04 July 1886 Ladislav Kupkovic * 17 March 1936 György Kurtág * 19 February 1926 Franz Liszt * 22 October 1811 Gustav Mahler † 18 May 1911 Steve Reich * 03 October 1936 Ottorino Respighi † 18 April 1936
40
anniversaries
50th 50th 125th 50th 25th 75th
Birthday Birthday Anniversary Birthday Anniv. of Death Birthday
David Sawer * 14 September 1961 Daniel Schnyder * 12 March 1961 Othmar Schoeck * 01 September 1886 Mauricio Sotelo * 02 October 1961 Alexandre Tansman † 15 November 1986 Hans Zender * 22 November 1936
Anniversary Birthday Anniv. of Death Anniv. of Death Birthday Birthday Anniversary Anniv. of Death Birthday Birthday Birthday Birthday Anniv. of Death
Kurt Atterberg * 12 December 1887 David Bedford * 04 August 1937 Hanns Eisler † 06 September 1962 Morton Feldman † 03 September 1987 Silvia Fómina * 1962 Peter Kolman * 29 May 1937 Richard Meale * 24 August 1932 Caspar Neher † 30 June 1962 Gösta Neuwirth * 06 January 1937 Bo Nilsson * 01 May 1937 Wolfgang Rihm * 13 March 1952 Rodion K. Schtschedrin * 16 December 1932 Alexander Zemlinsky † 15 March 1942
Birthday Birthday Anniv. of Death Birthday Birthday
Georg Friedrich Haas * 16 August 1953 Zygmunt Krauze * 19 September 1938 Marcel Poot † 12 June 1988 Raymond Murray Schafer * 18 July 1933 Tona Scherchen * 12 March 1938
2012
125th 75th 50th 25th 50th 75th 80th 50th 75th 75th 60th 80th 70th
2013
60th 75th 25th 80th 75th
41
anniversaries
wolfgang rihm Dionysos opera Deutsches SO, c. Ingo Metzmacher Johannes Marin Kränzle, Mojca Erdmann/Elin Rombo, Matthias Klink, Virpi Räisänen director: Pierre Audi stage design: Jonathan Meese 27 July 2010 · Haus für Mozart Salzburg/A
luke bedford Of the Air for string quartet Belcea Quartett 25 June 2010 · Wigmore Hall London/GB
Give Him His Hat for solo piano and for piano four hands Folkwang Hochschule Essen-Werden 12 July 2010 · Essen-Werden/D friedrich cerha 9 Bagatellen for string trio Zebra-Trio (Ernst Kovacic, vln, Steve Dann, vla, Anssi Karttunen,vlc) 27 June 2010 · styriarte Schloss Eggenberg/A Arvo Pärt Adam's Lament for choir (SATB) and string orchestra Borusan Philharmonic Orchestra, c. Tõnu Kaljuste Estonian Philharmonic Chamber Choir, Vox Clamantis 07 June 2010 · Istanbul Festival, Hagia Irene Istanbul/TR jay schwartz Music for Orchestra II for orchestra Mozarteumorchester Salzburg, c. Leo Hussain 12 June 2010 · Landestheater Salzburg/A Johannes Maria Staud Tondo Preludio for orchestra Staatskapelle Dresden, c. Paavo Järvi 22 August 2010 · Semperoper Dresden/D 42
world premières
Pierre Boulez Tombeau Nr. 5 aus Pli selon pli (Portrait de Mallarmé) pour soprano et orchestre (1959 –1962) Facsimile - Ausgabe Paul Sacher Stiftung, Basel
UE 34972
e 154,00
„Un peu profond ruisseau calomnié la mort.“ (Mallarmé)
Florian Bramböck I Love My Clarinet for clarinet solo UE 34677 Mike cornick Jazz Suite for Piano Duet for piano four hands UE 21548 Barbara Gisler-Haase (ED.) Easy Play Along Flute for flute and CD Selected easy pieces from Vivaldi to Dvo�ák, with CD UE 34676 Georg Friedrich Händel Sonatas for violin and basso continuno Editor: Bernhard Moosbauer Notes on interpretation: Reinhard Goebel UT 50264 Leo� Janá�ek The Cunning Littel Vixen Editor: Sir Charles Mackerras / Ji�í Zahrádka piano reduction (revised new editon) UE 33550 Ernst Krenek Sonatina op. 92/2a for flute and viola UE 34943 arvo pärt Morning Star for choir SATB choral score UE 33718 Carl Reinecke Undine Sonate for clarinet and piano Editor: Irmlind Capelle Notes on interpretation: Lisa Eichenberg UT 50263 Wolfgang Rihm Vier späte Gedichte von Friedrich Rückert for voice and piano UE 34330 44
new releases
Gustavo Beytelmann
Solo Tango Solo Piano
for piano UE 34679
Gustavo Beytelmann has taken some of the most beautiful tango music ever written and created his own arrangements for solo piano. His collection shows how varied the genre is, from the ragtime-like lilt of El esquinazo to the romantic waltz La loca de amor by Pablo JosĂŠ VĂĄzquez and the energetic El entrettiano by Rosendo Menizabal, as well as a new arrangement of Carlos Gardel's immortal El dia que me quieres. Beytelmann shows too how technically varied these works can be. Each of the pieces features specific performance techniques such as accents, tempo changes, balance and attack and he advises "Spend some time concentrating on these elements and you will find the works even more enjoyable." These immensely rewarding pieces are equally suited to the concert stage as to the piano lesson. www.universaledition.com/gustavobeytelmann
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new releases
Hans Erich Apostel String quartet No. 1 and No. 2, 6 Epigramme DoelenKwartet · Cybele 3SACD KiG 002 cristóbal Halffter Tres piezas para cuarteto, String quartet No. 3, String quartet No. 6 Arditti String Quartet Anemos CD C33005 morton feldman Spring of Chosroes Pellegrini Quartet, Ib Hausmann, cl hat(now)ART CD 157 Gustav Mahler Symphony No. 1 Tonkünstler Niederösterreich, c. Andrés Orozco-Estrada Preiser Records CD PR90784 Gustav Mahler Symphony No. 1 Pittsburgh Symphony Orchestra, c. Manfred Honeck Extraplatte CD EXCL 00026 Gustav Mahler Symphony No. 1, Rückert-Lieder Deutsches SO Berlin, c. Christoph Eschenbach, Christine Schäfer, s Capriccio CD C5026 Gustav Mahler Symphony No. 2 Bamberger Symphoniker, c. Jonathan Nott, Chor der Bamberger Symphoniker, Anne Schwanewilms, s, Lioba Braun, ms Tudor CD 7158 Gustav Mahler Symphony No. 2 hr-Sinfonieorchester Frankfurt, c. Paavo Järvi, Natalie Dessay, s, Alice Coote, ms EMI Virgin Classics (ab Sep. 2010) Gustav Mahler / Hermann Behn Symphony No. 2 for two pianos Harvestehuder Kammerchor, c. Claus Bantzer, Christiane Behn und Mathias Weber, pno, Daniela Bechly, s, Iris Vermillion, a Musicaphon CD M56915 Gustav Mahler Symphony No. 8 Tonhalle-Orchester Zürich, c. David Zinman, Schweizer Kammerchor, WDR Rundfunkchor Köln, Zürcher Sängerknaben, Kinderchor Kaltbrunn RCA Sony Music Classical 2 SACDH 88697579262 frank martin 6 Monologe aus Jedermann, Suite from the opera „Der Sturm“, Symphonie Concertante Stavanger Symfonieorkester, c. Steven Sloane MDG CD 90116146 frank martin Ballade No. 2 for flute and piano Thies Roorda, fl, Nata Tsvereli, pno Dutch Record Company DRC 101009/01 46
new on cd & dvd
pierre boulez Lucerne Festival Academy Docu- mentary Film Notation I-IV and VII, Répons Lucerne Festival Orchestra c. Pierre Boulez Euroarts DVD 20580481
hans Krása 5 Lieder erwin schulhoff Concertino Ensemble Aventure Ars Musici CD 232175
gustav mahler Symphony No. 1 Los Angeles Philharmonic c. Gustavo Dudamel DGG DVD 000440.0734531.3
mauricio sotelo Audéeis Stadler Quartett, Arcángel Neos CD 0947
joseph marx Rhapsodie, Scherzo, Ballade Oliver Triendl, pno, Daniel Gaede, vl, Hariolf Schlichtig, vla, Peter Bruns, vlc cpo CD 9688704 Wolfgang Rihm String quartets Nos. 1 and 4, String quartet No. 3 “Im Innersten” Minguet Quartett col legno CD 20211 franz schreker Kammersymphonie, Nachtstück, Phantast. Ouverture Orquesta Filharmonica de Gran Canaria, c. Pedro Halffter Warner Classics karlheinz stockhausen Refrain, Kreuzspiel, Plus minus Ives Ensemble hat(now)ART 178 anton Webern Passacaglia, 5 Stücke, 6 Stücke, Konzert für 9 Instrumente, Symphonie, Variationen Staatskapelle Dresden, c. Giuseppe Sinopoli Warner Classics Apex CD 2564-68399-31 47
new on cd & dvd
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www.universaledition.com, promotion@universaledition.com Chief Editors: Angelika Dworak and Eric Marinitsch
Contributors: Eric Marinitsch, Wolfgang Schaufler, Jonathan Irons,
Angelika Dworak, Daniela Burgstaller and Marion D端rr Design: Egger & Lerch, Vienna/Austria
Photo credits: Eric Marinitsch (10), UE Archiv (7), www.ultrasonic.it,
Buxton Festival, Kurt Weill Foundation for Music New York, Freilicht-
museum St端bing, Theater Erfurt / Lutz Edelhoff, www.paramount.com, Ludwigsburger Schlossfestspiele, www.fr.academic.ru, Mathias Bothor,
Nationaal Jeugd Orkest, Wiener Festwochen / Bertrand Stofleth,
Konzerthausorchester Berlin / Thomas Mayer, Internationale Gustav Mahler Gesellschaft, Teatro Real / Javier del Real, Haus f端r Mozart /
Karl Forster; CDs: Euroarts, Ars Musici, Deutsche Grammophon, Neos. DVR: 0836702